Одјеци идеје политичког театра у Краљевини СХС/Југославији: поглед на критичкотеоријске наративе

Abstract

У овом раду размотрићемо значај, рецепцију и развијање идеје политичког театра у међуратној Југославији. Иако су југословенски критичари и стручњаци пажљиво пратили тенденције у овој области још од раних двадесетих година прошлог века, наша намера је била да се фокусирамо на део критичкотеоријског наратива настао током тридесетих година. Разлог томе је у чињеници да су његови креатори уједно били и покретачи политичког театра на југословенском тлу, што значи да су овој појави приступали из сложеније перспективе. Самим тим, анализирајући критичкотеоријске списе Војислава Вучковића и Павла Стефановића покушали смо да укажемо не само на њихове ставове о различитим варијантама политичког театра кроз историју, него и на контекст у коме је текло обликовање уметничко-агитационих форми на овом простору. Поред систематизовања ставова двојице музичких стручњака и њиховог критичког сагледавања, битно је било и указивање на потенцијалне узоре у идејном и естетичком погледу међу иностраним уметницима. Посебна пажња била је усмерена на уочавање дискрепанце између, с једне стране, уметничких идеала које су зацртали Вучковић и Стефановић, и, с друге стране, њихових конкретних уметничких творевина. Циљ рада је да се делатност на креирању политичког театра у међуратној Југославији истовремено шире контекстуализује и детаљније расветли, посебно у погледу теоријско-естетичких оквира.

The idea of political theater expanded massively in the aftermath of the October Revolution becoming popular in leftist circles in various European countries, especially in Germany and Czechoslovakia. Many artists and intellectuals saw a great potential in agitprop forms not only in transforming the traditional methods of political propaganda, but also in dismantling the existing artistic models of expression and perfomance. The possibility of combining a harsh social critique with the impovisatory structure and direct approach to the audience made new agitprop genres, such as “living newspaper” and “Blue Blouse”, inspirational and stimulating for different kinds of artistic experiments. Although these genres were developed both in the sphere of professional and amateur art, their wider social and cultural value was primarily the result of growing presence among amateur workers’ troups particularly in Soviet Union and Germany. While the distinctive forms of political theatre were deeply influenced by the changing tendencies in the Soviet political and cultural life, especially between the Frist Five Years’ Plan period (1928–1932) and burgeoning socialist realism (since 1934), its actualizations in different parts of Europe depended on the intertwining of Soviet and local sociopolitical circuimstances. Despite the fact that leftist and particularly communist circles were under continual oppression in the Kingdom of SCS/Yugoslavia since 1921, their activities started to increase in Yugoslav public sphere since the early 1930s. Owing to the appearance of a group of young musicians and music intellectuals who openly supported political and cultural programme of the Communist Party of Yugoslavia at the time, a great shift took place in the approach to using artistic and cultural forms for broader (social and cultural) purposes. Therefore, a sudden rise of interest for political theater, both in theory and practice, represented a logical outcome. Among the leftist intellectuals who took part in this process the most important was Vojislav Vučković who, since 1933, initiated theoretical discussions on the “choral/collective recitation” and its practical elaborations. Along with Vučković, important role in the development of this type of political theater belonged to Pavle Stefanović who appropriated Vučković’s ideas and general approach and cultivated them through the work with amateur speech choirs in Belgrade workers’, youth and women societies. Although both Vučković and Stefanović aimed at treating the “choral/collective recitation” as a synthetic artistic form with strong inclination towards both social critique and broader social strata, their critical and theoretical papers revealed an antipodal tendency particularly in the aesthetical realm. Actually, both music intellectuals displayed an affinity to less synthetic and, at the same time, more musically complex creations in their work with amateur troups which was contrary to the ideals they propagated. Among other things, the discrepancy between theory and practise was commented upon in negative terms among the contemporaries, particularly by a theatrical historian and critic Miloš Savković. According to the findings of this analysis, problems that surrounded the foundation and development of political theater in interwar Yugoslavia represent an important phenomenon not only in the reserch of diversity of local manifestations of this kind of artistic form, but also in the explorations of fruitlessness of manifold attempts aimed at creating a specifically workers’ art as well as “social art” in interwar and post-WWII period.